Culture Representation: Taking place in Italy, the horror film “Immaculate” features an all-white cast of characters representing the middle-class and working-class, with most of the characters as clergy from the Catholic Church.
Culture Clash: A young nun joins a convent, where she has nightmarish visions and finds out that she has mysteriously become pregnant.
Culture Audience: “Immaculate” will appeal primarily to people who are fans of star Sydney Sweeney and horror movies about nuns.
A scene from “Immaculate” (Photo courtesy of Neon)
“Immaculate” has no real surprises, but this horror movie about a pregnant nun delivers plenty of creepy suspense with some campiness. Sydney Sweeney’s committed performance and an intense ending are worth watching. The movie’s bloody gore goes where the lackluster “The Nun” movies are too tame to go. Sweeney is one of the producers of “Immaculate.”
Directed by Michael Mohan and written by Andrew Lobel, “Immaculate” had its world premiere at the 2024 SXSW Film and TV Festival. It’s an uncomplicated story about a young American nun named Sister Cecilia (played by Sweeney), who experiences horror at a Catholic convent called Our Lady of Sorrows in an unnamed rural area in Italy. The beginning of the movie shows Sister Cecilia arriving to take her final nun vows and live permanently at the convent. Viewers know that there’s something very wrong with this convent, because the opening scene shows a young nun trying to escape from the convent, but she is murdered by other nuns, who are wearing sinister veils over their faces.
The convent has a stereotypical stern Mother Superior (played by Dora Romano) and a patriarchal leader of the adjoining church: Cardinal Franco Merola (played by Giorgio Colangeli), who officiates the ceremony where Sister Cecilia takes her vows. He is also the clergyman who listens to the nuns’ confessions. Another associate of Our Lady of Sorrows is Father Sal Tedeschi (played by Álvaro Morte), who recruited Cecilia to the convent after her previous convent in the United States shut down due to low attendance for the church affiliated with the convent.
As soon as Father Sal tells Sister Cecilia that he had a scientific background in biology before he became priest, you can easily predict what the convent’s big secret is when virgin Sister Cecilia finds out she’s pregnant after undergoing an admittance medical exam at the convent. This admittance exam is not shown in the movie, but the movie shows the follow-up exam where Sister Cecilia is told that she is pregnant. Our Lady of Sorrows has an in-house medical professional named Doctor Gallo (played by Giampiero Judica), who works in a secretive room that looks more like a science lab than a regular doctor’s office.
Sister Cecilia, who is originally from the Detroit area, has a troubled past that is vaguely hinted at in the movie. She is plagued by nightmares and hellish visions as soon as she stays at the convent. One of her nightmares is a memory of when she was a child and had a near-death experience when she accidentally fell through an icy body of water and nearly drowned.
Sister Cecilia befriends another nun named Sister Guendalina, also known as Sister Gwen (played by Benedetta Porcaroli), who is the convent’s resident rebel. Sister Gwen tells Sister Cecilia that the several young nuns who are at the convent were recruited because they are “head cases or runaways.” Sister Cecilia asks Sister Gwen which category describes Sister Gwen. “Both,” Sister Gwen replies with a slight smirk. Another young nun at the convent is Sister Isabelle (played by Giulia Heathfield Di Renzi), who is standoffish and rude to Sister Cecilia.
“Immaculate” goes through some predictable motions of Sister Cecilia experiencing abuse and more terror at the convent. The movie has above-average cinematography and production design, which greatly enhance the sinister atmosphere. Of course, the main reason people will keep watching “Immaculate” is to find out what will happen if or when Sister Cecilia gives birth. It all leads to a memorable and terrifying series of events that make up for some of the occasional tediousness in the rest of the film.
Neon will release “Immaculate” in U.S. cinemas on March 22, 2024. The movie will be released on digital and VOD on April 16, 2024. “Immaculate” will be released on Blu-ray and DVD on June 11, 2024.
Culture Representation: Taking place in 2003 (with brief flashbacks to 1973), in New York City and in the Amazon jungle of Peru, the superhero action film “Madame Web” (based on Marvel Comics characters) features a predominantly white cast of characters (with some African Americans, Latinos and Asians) portraying superheroes and regular human beings.
Culture Clash: A fire-department paramedic, who grew up as an orphan, finds out that she has spider-related psychic abilities that came from her mother’s mysterious death, and she helps protect three teenage girls who are being hunted by the man who killed her mother.
Culture Audience: “Madame Web” will appeal primarily to people who are fans of star Dakota Johnson and movies based on Marvel Comics, but the movie is an idiotic mess, by any standard of bad superhero movies.
Tahar Rahim (center) in “Madame Web” (Photo courtesy of Columbia Pictures)
“Madame Web” and “The Marvels” are the “Dumb and Dumber” of female-led Marvel Comics superhero movies. After the triumphs of “Black Widow” and “Black Panther: Wakanda Forever,” it’s a travesty that “Madame Web” is a low point in wannabe feminist superhero films. Perhaps the only good thing to come out of “Madame Web” is that it is an unintentional comedy, because there is so much idiotic filmmaking on display, it’s laughable. Other people who won’t find it so funny will be cringing at “Madame Web,” which is an embarrassment for everyone involved in making this brain-dead film.
Directed by SJ Clarkson, “Madame Web” was co-written by Clarkson, Matt Sazama, Burk Sharpless and Claire Parker. “Madame Web” will get inevitable comparisons to 2023’s “The Marvels” because these two flops are obvious attempts to build a franchise around two separate groups of female superheroes. (See 2021’s “Black Widow” and 2022’s “Black Panther Wakanda Forever” for Marvel Comics-based, female-led superhero movies that are done right.) Whereas the story in “The Marvels” was overly ambitious and got tangled up in doing too many things in too many places, “Madame Web” tries to keep the story simple, but in doing so just exposes even more rapidly that it’s a mind-numbing, stupid mess.
“Madame Web” begins in 1973, in the Amazon jungles of Peru. An American scientist named Constance Webb (played by Kerry Bishé) is looking for a rare spider that has the potential to cure hundreds of diseases. Accompanying her on this expedition is an American named Ezekiel Sims (played by Tahar Rahim), whom Constance has hired to be her guide. Constance also happens to be about eight or nine months pregnant.
Ezekiel is over-eager for Constance to find this spider. His impatience should’ve been a big red flag to Constance that Ezekiel has ulterior motives. However, Constance is too preoccupied with finding this spider to notice. When she does find the spider, Ezekiel shoots her, steals the spider, and runs away.
Constance doesn’t die immedately. She is unconscious when she is saved by two tree-crawling and tree-hopping “spider men” of Peru (who basically look like acrobats with painted red skin), who bring her to a swampy area, put a spider on her chest, and deliver Constance’s baby, which is a girl. The spider on Constance’s chest was no ordinary spider. It bit Constance before the baby was delivered, so whatever type of venom the spider had has now been transferred into the blood of the baby.
Constance doesn’t survive, but her baby does, and the baby does not cry at all after being born. One of the Peruvian jungle dwellers who delivered the baby is named Santiago (played by José María Yazpik), who states solemnly to this newborn that she will eventually come back to this jungle to find him for answers to her questions. And when she does, Santiago adds, “I will be here for her.”
The movie then fast-forwards to 2003 in New York City. Constance’s baby is now a jaded 30-year-old bachelorette named Cassandra “Cassie” Webb (played by Dakota Johnson), who works as a paramedic for the Fire Department of New York. It’s mentioned in the movie that Cassie grew up as an orphan in the foster care system. Her biological father is never mentioned in the movie.
Cassie’s best friend is her paramedic co-worker Ben Parker (played by Adam Scott), who is also never-married with no children. Cassie and Ben, as they announce during their dull dialogue, don’t like the idea of “the family thing,” although Ben has been recently dating a special woman, and the relationship is getting serious. Ben won’t share any details about this relationship with Cassie, probably because he knows that bitter spinster Cassie will be jealous.
How do we know that Cassie is bitter about family love? When she saves a woman from a car accident and is at the hospital, the woman’s son (who’s about 8 or 9 years old) gives her a drawing that he made as a gift for saving his mother’s life. Cassie coldly asks Ben what she’s supposed to do with this gift since she doesn’t want it. Ben tells her she should just throw it in the garbage when the kid isn’t there.
It isn’t long before Cassie finds out that she has psychic abilities where she can see events that happen in the future. She discovers this clairvoyance after falling into the Atlantic Ocean while rescuing a man trapped in a car near a bridge. Ben rescues Cassie in a very sloppily staged scene, which is when she first finds out that she can see into the future.
Mike Epps has a very small and brief role as a paramedic supervisor named O’Neil, whose fate does not come as a surprise, since his character wasn’t useful to the overall story. Emma Roberts has a supporting role as Mary Parker, the pregnant wife of Ben’s brother Richard, who is never seen in the movie because he’s away working in Mumbai. Mary is eight months pregnant, and her pregnancy is used for exactly what you think it will be used for in a “race against” time scene later in the movie.
Meanwhile, Ezekiel (who is some type of scientist) was bitten by the spider that he stole, so now he has the ability to poison people just by touching them and holding them long enough. (Don’t ask.) After meeting an opera concertgoer whom he took home for a one-night stand, Ezekiel wakes up from a cold-sweat nightmare and tells her that he keeps dreaming of three teenage girls who want to kill him. His nightmarish visions show that all three girls are dressed as spider superheroes.
Ezekiel enlists the help of a technology expert named Amaria (played by Zosia Mamet) to find these three teenagers, because (as Ezekiel hilariously announces repeatedly in the movie), he wants to kill them before they can kill him. Amaria is only seen working for Ezekiel in a room with hi-tech equipment, such as surveillance cameras that are apparently everywhere in the New York City area.
“Their faces have been taunting me for years,” Ezekiel comments to Amaria about these teen tormenters. “Find them, and I’ll pay you a fortune.” Ezekiel tells Amaria several times that he will kill her if she doesn’t do what he wants. It’s later mentioned in the movie that Ezekiel thinks he’s going to be killed because he was cursed for stealing the spider.
The identities of the three teenagers are Julia Cornwall (played by Sydney Sweeney), a nervous people-pleaser; Mattie Franklin (played by Celeste O’Connor), a rebellious rich kid; and Anya Corazon (played by Isabela Merced), a level-headed undocumented immigrant. All three have encountered Cassie before they formally meet. Julia’s stepmother was a patient rescued earlier in the movie by Cassie, and Julia saw Cassie at the hospital. While skateboarding on a busy street, Mattie was nearly hit by a paramedic ambulance that Cassie had been driving on the way to the accident. Anya lives in the same apartment building as Cassie.
The rest of “Madame Web” is one ridiculous scenario after another where Casse tries to save Julia, Mattie and Anya from being murdered by Ezekiel, because Cassie had a psychic vision that it would happen when all them are on the same train. By rescuing these three teens and putting them in the woods to hide them, Cassie becomes a kidnapping suspect. Cassie spends much of the movie acting like a stern boarding school headmistress to these confused and bickering teenagers.
The acting in “Madame Webb” ranges from mediocre to bad, with Rahim’s stiff performance being the worst. Rahim’s wooden acting and questionable American accent (he’s French in real life) further sink the quality of this already low-quality superhero movie. The action sequences are flashy but empty. And don’t bother sticking around for a mid-credits or end-credits scene, because there is none.
The movie’s soundtrack choices sound like the filmmakers were thinking, “What songs would feminists and teenage girls be listening to in 2003?” The answer, according to “Madame Web”: Meredith Brooks’ “Bitch” and Britney Spears’ “Toxic.” The movie’s very “on the nose” soundtrack is in stark contrast to the rest of “Madame Webb,” which misses the mark in almost every single way.
Columbia Pictures will release “Madame Web” in U.S. cinemas on February14, 2024.
Culture Representation: Taking place in an unnamed U.S. city and in Sydney, Australia, the comedy film “Anyone But You” (loosely based on the William Shakespeare play “Much Ado About Nothing”) features a predominantly white cast of characters (with some black people, a few Asians and one indgenous person) representing the working-class and middle-class.
Culture Clash: After have a great first date together, a young would-be couple have angry feelings toward each other because of misunderstandings, but then they pretend to be a couple to make their respective ex-lovers jealous.
Culture Audience: “Anyone But You” will appeal primarily to fans of stars Sydney Sweeney, Glen Powell, and corny and predictable romantic comedies.
Glen Powell and Sydney Sweeney in “Anyone But You” (Photo by Brook Rushton/Columbia Pictures)
When will certain filmmakers learn that pretty people in pretty locations do not automatically equal an enjoyable romantic comedy? William Shakespeare would cringe in embarrassment if he saw this lousy interpretation of “Much Ado About Nothing.” There isn’t anything creative, surprising or truly entertaining about “Anyone But You,” which is an example of a lazy rom com coasting by on some of the most overused clichés in romantic comedies.
Directed by Will Gluck (who co-wrote the trite and hollow “Anyone But You” screenplay with Ilana Wolpert), “Anyone But You” has a mostly talented cast stuck in roles that make most of their characters in the movie look like immature dolts. Adults who are in their 20s and 30s act more like teenagers who are inexperienced in dating. And the middle-aged parents in the story are nothing but shallow rom-com stereotypes of meddling relatives who interfere in their adult children’s love lives.
“Anyone But You” begins with the “meet cute” scene between the would-be couple at the center of the story. Beatrice “Bea” Messina (played by Sydney Sweeney), who’s in her mid-20s, says she’s a student in law school. Ben (played by Glen Powell), who’s in his mid-30s, has a background in finance and works as an online trader. Bea and Ben both live an unnamed U.S. city, where they meet at a local coffee shop.
Bea is in a hurry to be somewhere else when she goes into the coffee shop to use the restroom. She starts a conversation with an unfriendly barista (played by Mia Artemis), who abruptly tells her that the restroom is only for customers. Bea says she’ll buy something, but to her dismay, she sees that there’s a long line of customers.
Ben happens to be near the front of the line and notices Bea’s predicament because he overheard the conversation. All of sudden, Ben pretends that Bea is his wife, and he places her order for her. There’s an immediate attraction and rapport between Bea and Ben, as they play along at pretending to be spouses.
Bea excuses herself to use the restroom (which is a small room with one toilet) and calls her sister Halle (played by Hadley Robinson) to tell her about this attractive stranger she just met. Halle is also Bea’s best friend. As mentioned later in the movie, Bea met Ben when she was taking a break from her relationship with her fiancé Jonathan, whom she has known for years. Bea wanted this separation from Jonathan because she’s having doubts about getting married to anyone. Jonathan (played by Darren Barnet) doesn’t show up until the movie is half over.
Bea tells Halle that she could change her mind about dating someone new because she’s interested in getting to know Ben better. During this phone conversation in the restroom, Bea accidentally splashes a lot of sink water all over the front her jeans. This leads to a not-very-funny scene of Bea taking off her jeans and awkwardly using the hand dryer to get rid of the water stain, which could be misinterpreted as a urine stain.
Ben is patiently waiting for Bea outside, not knowing that flustered Bea is frantically trying to dry her jeans so she won’t give Ben the wrong impression about her hygiene. When she steps out of the bathroom, she doesn’t notice that a strand of toilet paper is stuck to the bottom of one of her shoes. Ben discreetly steps on the paper so it gets unstuck. All of this is supposed to be hilarious, but it’s just so boring.
Bea and Ben leave the coffee shop, which leads to a conversation where their mutual attraction to each other grows. Ben spontaneously invites Bea over to his place, where he makes grilled cheese sandwiches for both of them. They flirt some more and tell each other a little bit more about their lives. Bea says that even though she’s a law student, she’s not sure if she wants to become a lawyer.
Ben opens up to Bea and tells her about his most treasured possession: a giant wrench figurine given to him by his mother, who died an untold number of years ago. Ben’s father is not seen or mentioned in the movie. Bea and Ben spend the rest of the night talking. They fall asleep together on his couch.
When Bea wakes up, she thinks Ben is still asleep. She leaves without saying goodbye or leaving a note. However, Ben has noticed that Bea made a quick exit, and his feelings are hurt because he misinterprets it as Bea not being as interested in him as he’s interested in her.
Ben’s longtime best friend Pete (played by GaTa) shows up almost immediately after Bea leaves. He congratulates Ben on possibly finding a new love interest. Ben feels rejected by Bea, but his bruised ego won’t let him admit it to Pete. Instead, Ben lies to Pete to make it sound like Ben was the one who rejected Bea. “The girl is a disaster. I couldn’t get rid of her fast enough,” Ben tells Pete.
It just so happens that Bea has overheard Ben insult her in this part of the conversation, because (on the advice of Halle), Bea decided to go back to Ben’s place to make plans to see him again. Bea thinks that they had a magical night together, but she gets angry when she overhears through the open door what Ben is saying about her. Ben and Pete don’t see Bea eavesdropping and don’t find out until later that she has heard this part of the conversation.
Ben and Bea see each other again by chance at a nightclub when Bea is there with Halle and Halle’s new girlfriend Claudia (played by Alexandra Shipp), who just happens to be Pete’s younger sister. And lo and behold, all five of them are at this nightclub at the same time. The conversation becomes tense and uncomfortable when Bea and Ben start to snipe at each other and make it clear that they don’t want to see each other again.
Two years later, Halle and Claudia have gotten engaged and have planned a destination wedding to take place in Sydney, Australia, where Claudia’s parents live. All of their family members in the movie accept Halle and Claudia’s same-sex relationship. Claudia’s tactless father Roger (played by Bryan Brown) is a native Australian who is some type of business mogul. Roger is Pete’s stepfather; there’s no mention of where Pete’s biological father is. The mother of Pete and Claudia is Carol (played by Michelle Hurd), who likes to practice New Age healing techniques.
As for the parents of Bea and Halle, they are overbearing and worried that Bea might never get married. The sisters’ father Leo (played by Dermot Mulroney) and mother Innie (played by Rachel Griffiths) had their hearts set on Bea marrying Jonthan, because they think Jonathan would be the perfect husband for Bea. You can almost do a countdown to when Leo and Innie invite Jonathan to go to the wedding in Australia to be a “surprise” date for Bea. This plot development is already revealed in the trailer for “Anyone But You.”
In a conversation between Bea and Halle, the two sisters discuss how when they were children, Bea talked a lot about looking forward to being married, while Halle was very wary of marriage. And now, the sisters’ opinions of marriage have switched, with Bea now being the one who doesn’t have a desire to get married. Bea tells Halle that she’s happy for her and Claudia and completely supports their plans for marriage.
“Anyone But You” predictably shows Bea and Ben on the same plane flight to Australia and not being happy about it. More shenanigans ensue when Ben finds out that the Australian model-type ex-girlfriend who dumped him is also a wedding guest. Her name is Margaret (played by Charlee Fraser), and she is a cousin of Claudia and Pete. Margaret’s current boyfriend is a less-than-smart surfer named Beau (played by Joe Davidson), who talks in hokey Australian slang clichés that sound like what American screenwriters think Australian surfers sound like.
The rest of “Anyone But You” is a series of tiresome scenarios of friends and family members interfering with and being judgmental of the love lives of Bea and Ben. Bea and Ben then decide to pretend to be a couple (it was Bea’s idea), to get these intrusive people to back off, as well as to make Jonathan and Margaret jealous. Bea has no interest in getting back together with Jonathan, so she wants to look “unavailable.” Ben has lingering feelings for Margaret and hopes that if Margaret sees Ben and Bea as a couple, then Margaret might want to get back together with Ben.
“Anyone But You” over-relies on slapstick comedy with adults in various states of nudity or being in wet, clingy clothing. It’s supposed to be sexy and funny, but it just looks so fake and trying too hard. And when there’s an unimaginative romantic comedy that has a wedding as a major part of the story, you just know there’s going to be some kind of mishap involving the wedding cake.
Even more irritating: “Anyone But You” has some stupid scenes of characters attempting to manipulate what Bea and Ben do, by intentionally fabricating conversations that they want Bea and Ben to overhear. The story of this would-be couple is very unbalanced in the movie. Viewers learn a lot about Bea’s family and almost nothing about Ben’s family. What you will hear a lot of in the movie is Natasha Bedingfield’s 2004 hit “Unwritten,” which is put to very cloying use when cast members sing the song off-key at several points, including an end-credits montage.
Sweeney and Powell put in a fairly good effort in trying to be convincing as two people who’ve fallen in love on their first date and then spend most of their time together denying their true feelings. However, their comedic timing is often mismatched. Almost nothing in this movie is believable (including co-star chemistry that looks forced), and most of the movie’s characters are annoying. “Anyone But You” is ultimately a failed attempt to be a lovable romantic comedy. It’s only effective in being a showcase for how attractive locations can look with the right cinematography.
Columbia Pictures released “Anyone But You” in U.S. cinemas on December 22, 2023.
Culture Representation: Taking place in an unnamed U.S. city, the horror film “Nocturne” has a predominantly white cast of characters (with a few Asians and black people) representing the middle-class and upper-middle-class.
Culture Clash: An evil spirit affects the relationship between fraternal twin sisters who are rival classical pianists.
Culture Audience: “Nocturne” will appeal primarily to people who like teen-oriented horror stories that delivers scares that are effective but not particularly groundbreaking.
Madison Iseman and Sydney Sweeney in “Nocturne” (Photo by courtesy of Amazon Studios)
“Nocturne” takes an intense sibling rivalry, mixes it in with a lot well-worn occult tropes, and lets the results slowly seep over the audience like a sticky, poisonous stew that’s hard to clean off. The movie doesn’t do a lot that’s very innovative, but quality performances from the cast and the movie’s ability to maintain an unsettling tone throughout the story make it worth watching for people who want to see a teen horror story that isn’t a predictable slasher movie.
“Nocturne” is part of Blumhouse Television’s “Welcome to the Blumhouse” series partnership with Prime Video to showcase horror/thriller movies directed by women and people of color. It’s the feature-film debut by British writer/director Zu Quirke, who set “Nocturne” primarily in an elite American arts school called the Lindbergh Academy. The academy, which is in an unnamed city, is also a co-ed boarding school that’s attended by students from mostly well-to-do families. It’s a school that steeped in tradition and classical music. In other words, the school isn’t for wannabe rock stars and wannabe rappers.
Many of the students have ambitions to become professional musicians in prominent orchestras or as solo stars. Such is the case with fraternal twin sisters Vivian “Vi” Lowe (played by Madison Iseman) and Juliet “Julie” Lowe (played by Sydney Sweeney), who are aspiring classical pianists. Even though their parents David (played by Brandon Keener) and Cassie (played by Julie Benz) are supportive of the twins’ dreams, they also warn Vi (pronounced “vee” in the movie) and Julie that the chances are very slim that they can make a career out of being classical pianists.
There’s a rivalry between the sisters that has been simmering for years but boils over with dangerous intensity during the course of the story, which takes place in the last year that the twins are enrolled in the academy before they graduate. Vi, the older twin, is the “golden child” who excels at everything thing she does. She’s been accepted into the prestigious Juilliard School, while Julie has been rejected by Juilliard and has decided to take a “gap year” before she applies again to Juilliard.
Vi has a loving and attentive boyfriend named Max (played by Jacques Colimon), who’s a little bit of a rebel because he does illegal drugs when he parties, and he admits that he only wants to be a musician because he likes the attention that he gets from women. Vi and Max’s relationship seems to be going well, and Vi is considered a “star” student of the school, both academically and socially. By contrast, Julie is a loner who doesn’t date and is a student who’s hard-working but not considered as exceptional as Vi. It’s no wonder that Julie feels overshadowed and jealous of Vi.
Lindbergh Academy has recently been devastated by the suicide of another star student named Moira Wilson (played by Ji Eun Hwang), a violinist who jumped off of the ledge of one of the school’s buildings. The suicide (which is shown in the beginning of the movie) is shocking because Moira had a promising future and wasn’t considered to be a troubled kid. During a school assembly after the suicide, Lindberg Academy administrators announce that the annual senior competition recital, which is the school’s biggest event, will still go ahead as planned.
One day, while a school administrator is cleaning out Moira’s locker, one of Moira’s notebooks accidentally drops on the ground. Julie happens to be nearby and picks up the notebook. She sees many occult-like illustrations and musical compositions in the notebook. And there’s a strange symbol of the sun on the notebook’s cover. This sun symbol plays a big role in many other parts of the story.
After Julie finds and keeps the notebook, mysterious things start to happen. When she’s in a room that’s used for music practice, she hears a violin playing, but no one is there. She starts having hallucinations and blackouts. Julie is on anti-anxiety medication, but is what she experiencing the side effects of the drug, mental illness, or is it something else? This is a horror movie, so the answer is obvious.
Moira’s notebook seems to have other effects on Julie, as she becomes more arrogant and ruthless in her rivalry with Vi. Julie decides that she’s going to play the same composition that Vi chose for the senior competition recital: Giuseppe Tartini’s “The Devil’s Trill.” Vi is understandably furious with Julie for blatantly trying to copy her, so the feud escalates between the two sisters.
Julie’s one-on-one piano instructor is a middle-aged alcoholic named Roger (played by John Rothman), who used to be an important pianist, but it’s implied that his drinking problem ruined his career as a pianist, and now his job is teaching piano to teenage students. Roger’s alcoholism is still an issue, because Julie mentions during their teaching lessons that she can smell alcohol on his breath.
One day, Julie (who is constantly looking for approval) asks Roger, “Are you proud of me?” He tries to tactfully tell Julie that she’s a good student but doesn’t really have what it takes to be a star soloist. Roger says that Julie is a “sensitive accompanist” and that not everyone can be the conductor of an orchestra.
This “damning with faint praise” triggers some anger in Julie, because she then tells Roger that she wants to quit his class. It leads to an argument where something happens that gets Roger fired. Julie is then assigned to take piano lessons from Dr. Cask (played by Ivan Shaw), who’s considered one of the top instructors in the school because he will only teach the best students. Dr. Cask, who is handsome and distinguished-looking, is also in charge of the senior competition recital, which is judged by a panel of school officials.
“Nocturne” is far from subtle in telegraphing what’s behind the horror in this story. Moira’s notebook is filled with demonic drawings. And when Dr. Cask has a piano lesson with Julie, he comments to her about Vi: “You know what makes her a star? She plays like the devil’s at her door.” And he says of dead student Moira: “She played like the devil is in the room.”
There aren’t many “jump scares” in “Nocturne.” Instead, the horror is more gradual and starts to slowly ramp up as the story moves along. It’s easy to figure out what the source of the terror is, but the appeal to the story is to see how this evil presence is going to affect the relationship between these two sisters.
The movie is told from Julie’s perspective, so Sweeney is the main actor who has to carry the story. Her performance is good, but just like her Julie character, she’s not particularly outstanding. Vi is not as complex as Julie, but Iseman capably shows glimmers into Vi’s interior thoughts that don’t always line up with the “perfect student” image that Vi portrays to almost everyone around her.
The best aspects of “Nocturne” are how writer/director Quirke successfully evokes moods such as toxic jealousy and eerie foreboding in the realistic dialogue and increasingly suffocating environment that surrounds Julie and Vi. The movie’s cinematography from Carmen Cabana also persuasively immerses people into this world. “Nocturne” delivers a knockout ending that will make people wonder if certain people can be possessed by evil or if evil is a manifestation of wicked inclinations that people already have inside themselves.
Prime Video premiered “Nocturne” on October 13, 2020.
“Clementine,” the first feature film from writer/director Lara Jean Gallagher, is a slow burn of a drama that is more of a psychological portrait than a psychological thriller. No one in the movie is named Clementine; the movie’s title comes from what clementine oranges mean to the central characters Karen (played by Otmara Marrero) and Lana (played by Sydney Sweeney). You’ll have to see the movie to find out how clementine oranges are mentioned, but we’re first introduced to Karen at the beginning of the film, when she breaks into a remote Oregon lake house owned by her older ex-girlfriend. The Karen character is supposed to be 29, but Marrero looks and acts much younger than a typical 29-year-old.
When there is a movie that takes place primarily in a secluded lake house in the woods, all sorts of sinister things usually ensue. But in the case of “Clementine,” don’t expect there to be any mysterious killer on the loose. Instead, the movie plays guessing games about who is trustworthy when it comes to matters of the heart.
It’s apparent early on that Karen’s breakup with her ex-girlfriend is recent and painful, because she broke into the house with the intent of taking back a dog without her ex-girlfriend’s knowledge. It’s unclear if Karen has rightful custody of the dog, but what is clear is that Karen feels that she deserves to have custody. When she finds out that the dog isn’t at the house, she decides to stay while she contemplates her next move. The only thing that viewers know about the ex-girlfriend, who’s named “D” (and is played in a cameo by Sonya Walger), is that “D” is a busy career woman who’s broken Karen’s heart, and Karen knows enough about her schedule to know when “D” won’t be at the lake house.
One evening, a teenager named Lana shows up at the house and asks Karen to help her look for her lost dog. Karen is a little reluctant to help at first, but she agrees, even though the sun is going down and it will soon get dark outside. They get in Karen’s car to search, and as the night wears on, they still haven’t found the dog. Karen’s skepticism grows, while she’s aware that she’s becoming sexually attracted to the mysterious Lana, who says she’s 19 and living with a boyfriend not too far from the lake house. Just when Karen is about to end the search because she thinks she’s being conned, Lana finds the dog, and Karen lets her guard down because she thinks Lana might be an honest person after all.
It isn’t long before they exchange phone numbers, and Karen invites Lana over for a late-night visit. Lana opens up to Karen and says she’s an aspiring actress, and the boyfriend she lives with is neglectful and someone who might be emotionally abusive. At first, Karen pretends that she lives in the lake house, but Lana quickly figures out the truth when Karen’s ex-girlfriend “D” unexpectedly calls on the house phone. It’s clear that the movie wants us to see that Karen projects a lot of her own experiences onto Lana as a way to bond with her: the idea of being seduced by an older woman, having unfulfilled dreams, and even searching for a beloved dog.
As Karen and Lana spend more time together at the house, Lana gives Karen subtle hints that she’s attracted to her, and Karen tries to decide if she’s going to initiate a romantic relationship with Lana. One day, the sexual tension between the two gets even more complicated when a young man aptly named Beau (played by Will Brittain), who does yard work and other maintenance for the house, shows up to do some work, and he openly flirts with Lana. Much to Karen’s dismay, Lana flirts back with Beau. Sensing Karen’s jealousy, Lana flirts with Beau even more whenever Karen is around.
All of this might turn into a suspenseful love triangle, but the movie takes somewhat of a ridiculous turn in the last 20 minutes when Karen commits an act of revenge that’s straight out of a Lifetime movie. The motivations for her to commit such a risky act don’t ring true, considering viewers know at that point in the movie if Karen and Lana have a future as a couple.
Marrero gives a solid performance as someone having inner morality conflicts over getting romantically involved with a teenager (even if the teen says she’s over the legal age of consent), but Sweeney has to carry the heavier acting load as someone who may or may not be a manipulative Lolita type. Unfortunately, the teen seductress role has been done so many times before in better-written movies that Sweeney often falls short of the challenge to create a fascinating and memorable character. The Lana character is certainly capable of inspiring lust, but Sweeney’s portrayal of Lana lacks the necessary charm that would make it believable that Lana would inspire true love. By the time secrets are revealed in the movie, the ending of “Clementine” is so anti-climactic that people won’t care much about what happens to the characters after the movie ends.
UPDATE: Oscilloscope Laboratories will release “Clementine” in select U.S. virtual cinemas on May 8, 2020. The movie’s digital and VOD release date is July 14, 2020.
